REMEMBERING TERI GARR: FIVE ROLES THAT WE ADORE

A beloved film presence, Teri Garr has passed away aged 79 after a long, courageous battle with Multiple Sclerosis. From her beginnings as a chorus dancer in Elvis Presley films, to a vast resume of television appearances, to a film career peppered with too-few leads and a myriad of perfect character parts, Garr was Hollywood’s ‘ace-in-the-hole’ for over five decades. When a project needed some moments of support-player magic, Teri Garr was as good as the industry has ever known…

In the hours after her passing, her Mr. Mom co-star Michael Keaton wrote, “Forget about how great she was as an actress and comedienne, she was a wonderful woman. Not just great to work with but great to be around. And go back and watch her comedic work; man, was she great! R.I.P., girl.”

We recall our five favourite Teri Garr big screen performances:

CLOSE ENCOUNTERS OF THE THIRD KIND (Dir: Steven Spielberg; 1977) As ‘Ronnie Neary’, the wife and mother who had to hold the family together as husband Roy (Richard Dreyfuss) succumbed to his UFO obsession, Garr lent on her dramatic acting training at New York’s Lee Strasberg Institute to keep Spielberg’s fantasy epic grounded in its suburban reality and deep emotion. She remains one of the director’s great ‘movie moms’ alongside Goldie Hawn in The Sugarland Express; co-star Melinda Dillon; Lorraine Gary in Jaws; and Dee Wallace in E.T. 

YOUNG FRANKENSTEIN (Dir: Mel Brooks; 1974) What wasn’t often exploited in most of Teri Garr’s performances (to her credit) is just how damn beautiful she is. When casting the voluptuous lab assistant ‘Inga’, Mel Brooks recognised Garr would not only be able to nail the inspired comedic moments in his script, but also emerge as one of the 70’s most desirable ‘movie stars,’ in a role that called for all that moniker entails. Her line “Vould you like to have a roll in ze hay?” remains a comedy classic.

ONE FROM THE HEART (Dir: Francis Ford Coppola; 1981) Director Francis Ford Coppola had cast Garr in his 1974 paranoia classic The Conversation, opposite Gene Hackman (who she’d reteam with 24 years later for the romance Full Moon in Blue Water) and his 1979 production, The Black Stallion, directed by Carroll Ballard. So great was his faith in the actress, Coppola chose her as the female lead in his mega-budgeted musical One From The Heart, a dark song-and-dance love story that drained the director’s Zoetrope Studios of every penny and goes down as one of the filmmaker’s great follies. Garr, who got to draw on her ballet roots as dreamer/travel-agent ‘Frannie’, is luminous in the film. 

TOOTSIE (Dir: Sydney Pollack; 1982) The Academy finally catches up with what audiences had embraced for the best part of a decade - that Teri Garr is one of the great support stars in Hollywood’s history. She earned her first (unbelievable) and only (also, unbelievable) Oscar nomination, for Supporting Actress in Sydney Pollack’s blockbuster Tootsie. It’s the perfect American comedy, rich with hilarious characterisations deep into the cast list - Hoffman, of course, but also Dabney Coleman, Bill Murray, George Gaynes, Charles Durning and Jessica Lange - who took out the coveted trophy. Lange’s very good, of course, but…really?...

AFTER HOURS (Dir: Martin Scorsese; 1985) Full disclosure - After Hours is our favourite Scorsese film, not least because of a dazzling Teri Garr as Julie, the achingly-sweet but also slightly off-kilter romantic whose skills as a portrait artist amps up the late night odyssey in which Griffin Dunne’s Paul finds himself. ‘Julie’ is why Garr in her prime was a Hollywood gemstone; just a few fleeting moments of her presence lit up an entire scene…hell, an entire movie. See also Michael Winner’s Won Ton Ton: The Dog That Saved Hollywood (1976); Carl Reiner’s Oh, God! (1977); John Schlesinger’s Honky Tonk Freeway (1981); and Jim Kouf’s Miracles (1986).

DO WE NEED TO DISCUSS JOYSTICKS IN 2020?

The year is 1983, and the crest of the ‘teen sex comedy’ wave towers over Hollywood. A confluence of factors created the ‘perfect storm’ for the genre - Porky’s, a likably smutty, ‘50s-set B-movie about a bunch of bros trying to get their dweeby friend laid, had been a sleeper hit in 1981; the influence (and hormones) of the teenage demographic dominated the box-office like never before; and, the booming VHS revolution meant that video recorders all over the world needed sellable content that was fast to produce.

It was from within this cauldron of coincidence that Joysticks emerged; an otherwise unremarkable film that can now be held aloft as a prime example of the low-IQ, high-energy, T&A-obsessed ‘80s teen romp. Directed by actor-turned-director Greydon Clark, a gentleman who ably helmed such romps as Satan’s Cheerleaders (1977) and Wacko (1982), Joysticks is soft-headed exploitation cinema very much of its time.

Clark and his three(!) scriptwriters tap the video game mania of the day, setting their loose narrative in ‘Jeff’s’, an oddly-cubic arcade parlour. Nerdy nebbish Eugene (Leif Green) is on his way to his first day of his arcade career when two sorority pledges, Lola (Kym Malin) and Alva (Kim G. Michel), coax him into their convertible with a nipple flash and the promise of a public threesome. What they really want is a humiliating photo of him, then it’s off to the parlour, where the girls can up the ante for some real self-serving flirting while Eugene dodges cool kids in search of his pants. (Above, from left: Scott McGinnis, Leif Green, Jim Greenleaf)

Clearly, everything about this opening scene is untenable to 2020 sensibilities; perhaps, aside from the teen males in line on opening weekend (Joysticks would earn a not-insignificant US$4million domestically), it was also untenable to 1983 sensibilities. But it was the kind of set-up that routinely kicked-off films with such titles as Screwballs (1983), Spring Break (1983), Hot Moves (1984), Hot Dog: The Movie (1984), Loose Screws (1985) and Fraternity Vacation (1985). 

Clark largely abandons Eugene’s plight, focussing alternatively on arcade owner/hunky stud Jeff (Scott McGinnis), fat slob McDorfus (Jim Greenleaf), and a leather-clad punk/nerd hybrid called King Vidiot (Jim Gries). The plot takes some kind of shape when conservative blowhard Joe Rutter (Joe Don Baker, repping the old establishment just as John Vernon did in Animal House and Ted Knight did in Caddyshack) threatens to close down ‘Jeff’s’, abetted by his dumb goons, Arnie (the great John Diehl) and Max (John Volstad) and much to the bemusement of his free-spirited daughter, Patsy (Corinne Bohrer, stealing all her scenes) . (Pictured, above: from left, Volstad, Baker and Diehl)

Which all sounds likably goofy and instantly dismissable, which it is. When not pandering to its pervy base, Joysticks offers some fun slapstick and the odd zinger in its dialogue. But there are signposts along the way that won’t sit well with 2020 viewers, whether it is the enlightened teens of today or the aged teens of 1983 (i.e., me). Revisiting Joysticks a whopping 37 years* after its release is to reconsider the worth of the 1980s teen sex comedies in their entirety. 

In arguably the film’s most distasteful moment, McDorfus forcibly encourages Eugene to lose his virginity to a dozing Mrs Rutter (Morgan Lofting), the middle-aged woman heavily sedated on sleeping pills. She stirs and, while still drowsy, believes it to be her husband initiating a bout of rare marital bliss. The heinous implication is that she is responding positively to Eugene’s awkward and accidental groping. The ‘randy dowager’ trope was a popular one back in the ‘80s (see the aforementioned Caddyshack).

Another entirely unnecessary sequence involves Lola and Alva playing Pac-Man...topless. Gratuitous nudity was a teen sex comedy staple, of course, but rarely was it so devoid of context or absence of reasoning. Unsurprisingly, Kym Malin, aka ‘Nola’, had been the May 1982 Playboy Playmate of the Month - the casting of nude models (see Lillian Müller, Shannon Tweed, Teri Weigel) a ploy used to ensure some degree of celebrity and a willingness to disrobe were addressed in the casting. (Trivia: Malin was later cast as one of the Nakatomi Plaza hostages in Die Hard). (Pictured, above: Jonathan Gries as King Vidiot, with Baker)

So, finally, does Joysticks and its ilk have any worth at all twenty years into the new millenium? Are they snapshots that provide insight into the teens of the time and the adults of today? Or lurid, sordid examples of artless exploitation, best condemned to time-capsule history? Are they any more than crassly commercial relics, conjuring sickening images of producers slavering over ambitious starlets being coerced into disrobing? Or, are they a legitimately expressive ‘artform’ that understood and spoke to an audience cross-section, eager for validation?

Teen sex comedies ran the gamut at the height of their popularity, and most have been reassessed with a new understanding of what is acceptable on-screen in the name of laughs. That reassessment works both ways; Paul Brickman’s Risky Business (1983) is a teen sex comedy now considered one the decade’s best films. Of course, giggly, smutty hijinks like those in Joysticks, once considered harmless, are now frowned upon, although it would be wrong, even pointless, to flay it at the altar of moralistic hindsight. (Pictured, above: Corinne Bohrer, as Patsy)

Instead, they should be seen as movie history artefacts, from a time when films began to give voice and vision to how teenagers interpret sexuality. Sometimes, that was (and still is) ugly and childish and offensive. But it wasn’t generally mean. Even in films like Joysticks, films in which the ‘Mrs Rutters’ have to endure the inexcusable, the message is ultimately a moral one - friendships are tight, common bonds form and grotesque old capitalists are defeated. That has relevance in 2020, when striving to understanding the truths that lie beneath so much ugliness is more important than ever.

* Regarding the passage of time and society’s shifting moral compass - films that came 37 years before Greydon Clark’s Joysticks include Frank Capra’s It’s A Wonderful Life, John Ford’s My Darling Clementine and, ahem, Disney’s Song of the South.

Read Greydon Clark's autobiography ON THE CHEAP: MY LIFE IN LOW BUDGET FILMMAKING, available from his official website.

CANNES 2016: WOODY'S FRENCH FESTIVAL LOVE STORY

On May 11, Woody Allen will make history when his latest work, Café Society, has its World Premiere as the Opening Night film of the 69^th Cannes Film Festival. It will be the third feature from the revered director to debut in the prestigious slot – the first time that a filmmaker has earned that honour. For the 80 year-old New Yorker, it is the latest declaration of respect and admiration from the event that has feted his work for over three decades…

MANHATTAN debuts in 1979
Like the rest of the cinema-going world, French cinephiles warmed to Allen as a true auteur in the wake of his blockbuster hit, Annie Hall. His early comedies Sleeper and Love and Death had played well to Euro audiences, but it was the 1977 Best Picture Oscar winner that put him on the map; a huge French hit, it would be nominated for the Foreign Film Cesar. When it was announced his follow-up would be a cinematic love letter to The Big Apple, interest from the Cannes Film Festival organisers was piqued. Manhattan opened in the US on April 25 to positive reviews and audience favour; a fortnight later, it had its international premiere Out of Competition at the 32^nd Cannes Film Festival. Despite the reclusive Allen’s decision not to attend the screening (actress Mariel Hemingway represented), it was the beginning of a beautiful friendship between Cannes and Woody. The Cesar voting body said thank you by honouring Manhattan with the Best Foreign Film trophy. (Pictured, right; Mariel Hemingway in Cannes, 1979)

(Above: Woody Allen and Mia Farrow in Broadway Danny Rose)

Allen’s 80’s Americana – BROADWAY DANNY ROSE, THE PURPLE ROSE OF CAIRO, RADIO DAYS and NEW YORK STORIES.
Allen’s cinematic fortune ebbed and flowed in the following years. Stardust Memories (1980) divided critics; A Midsummer’s Night Sex Comedy (1982) was considered a trifle; Zelig (1983) restored his critical lustre but only posted arthouse numbers. The resurgent career impetus that Allen would enjoy for the remainder of the 1980’s began when the 1984 Cannes Film Festival programmed out-of-competition the Oscar-nominated Broadway Danny Rose (the slot resonated with Allen, as it put him in the company of his film idol, Ingmar Bergman, who was presenting After the Rehearsal). Featuring a brilliant comic turn by then-wife Mia Farrow, Broadway Danny Rose was the first on Allen’s ‘Americana’ films, works that embraced the melancholy of show business’ early days, and the Cannes crowd loved them. The Purple Rose of Cairo (1985) would win the coveted FIPRESCI Prize at the 1985 event; Radio Days (1987) screened Out of Competition in 1987. Allen’s first taste of Opening Night prestige was 1989’s New York Stories, an omnibus film that featured Allen’s ‘Oedipus Wrecks’ short alongside contributions by Martin Scorsese and Francis Ford Coppola; the film garnered a mixed reaction and would be the last of Woody Allen’s film on the Croisette for over a decade.  

HOLLYWOOD ENDING opens the 2002 Cannes Films Festival.
Cannes gave Woody some breathing space throughout the 1990’s, a decade that featured some of his most revered works (Husbands and Wives, 1992; Bullets Over Broadway, 1994; Mighty Aphrodite, 1995; Sweet and Lowdown, 1999). It would not be until 2002 that Cannes rekindled the love affair when they afforded his contemporary LA-set comedy, Hollywood Ending, his first solo Opening Night red-carpet rollout. In hindsight, the film seems an odd choice; it is not regarded as one of Allen’s best and represents, alongside 2003’s Anything Else, what many consider a low point in the filmmaker’s output. But the coverage provided in the world’s press, trumpeting the appearance of Allen in Cannes for the first time in his long career, was pure showbiz and entirely in line with the A-list event glamour one expects from the Cannes Film Festival. (Pictured, right; Co-stars Tiffani Thiessen and Debra Messing accompany Allen and wife Soon-Yi at the Cannes 2002 premiere of Hollywood Ending).

The European Films of the 00’s – MATCH POINT, VICKY CHRISTINA BARCELONA, YOU WILL MEET A TALL DARK STRANGER.
The director sensed that true creative freedom and an enriched appreciation of his work were best explored in Europe (much of his funding had been sourced from continental backers in recent years). Despite the occasional sojourn to his homeland (the underappreciated Melinda and Melinda, 2004; Whatever Works, 2009), the 2000s brought a re-energised Allen back to the critical and commercial forefront with three European-lensed films that played to adoring Cannes audiences. In 2005, his potent London-set thriller Match Point played Out of Competition, the ecstatic response paving the way for his best box-office performer in 20 years; in 2008, the erotically-charged Vicky Christina Barcelona set the Croisette ablaze, premiering at Cannes ahead of a US$100million worldwide gross and a Supporting Actress Oscar for Penelope Cruz; and, in 2010, Allen returned to London, this time with Naomi Watts and Josh Brolin, for the whimsical drama, You Will Meet A Tall Dark Stranger, premiering Out of Competition. It was a prolific period of production that saw the director at the height of his craft, offering a run of films that culminated in Allen’s second Opening Night honour…

(Above: Allen at the You Will Meet a Tall Dark Stranger press conference, Cannes 2010)

The Triumph of MIDNIGHT IN PARIS.
Cannes organisers knew Allen’s 41^st film was something special when they secured it for the 64^th edition’s May 11 Opening Night slot in 2011. The Festival broke with tradition and opened the event to both industry types and the general public. It was a coup for Allen’s French distributor, who put the film into day-and-date national release, ensuring massive media coverage. The director jumped on board the promotional juggernaut, bringing to the Croisette his stars Owen Wilson, Rachel McAdams, Michael Sheen, Adrien Brody and local starlet Lea Seydoux. And critics were unanimous; Midnight in Paris was Woody Allen’s best work in years, the time-hopping romantic fantasy ultimately earning Allen the Best Original Screenplay Oscar (from the pic’s four nomination). Robert Weide’s Woody Allen: A Documentary would follow in 2012, and the director himself would return in 2015 with his Emma Stone/Joaquin Phoenix starrer, Irrational Man, but the rapturous Midnight in Paris soiree remains the night to remember from the Cannes Film Festival’s long and affectionate romance with Woody Allen. (Pictured, right; Allen with his Midnight in Paris cast, Cannes 2011).

The 69th Festival International du Film de Cannes will launch with a screening of Woody Allen’s new film, Café Society, on Wednesday 11 May in the Palais des Festivals’s Grand Théâtre Lumière as an Official Selection Out of Competition title.

MONKEY SHINES: DAVID LETTERMAN, A PLUSH TOY AND A CABIN BOY.

From Chevy Chase, Jon Stewart and Craig Ferguson to Jimmy Fallon, Martin Short and Whoopi Goldberg, the ‘Chair Behind the Desk’ late-night hosting gig has seen a great many talented talkers ease the sting of fickle fame with a shot at chat show popularity. But one man reversed the big-to-small screen stigma, melding television immortality and movie stardom.…well, sort of. Remember David Letterman in Cabin Boy…?

Adam Resnick and Chris Elliott connected as staff writers on NBC’s Late Night with David Letterman in the late 1980s. Integral to the core creative team, the caustic Resnick and off-kilter Elliott befriended the notoriously prickly but comedy-savvy ex-weatherman, who was being groomed for the chair left empty by the great Johnny Carson. But when sly manoeuvring by rival Jay Leno infamously robbed Letterman of that spot, the Indiana native downed tools and took some months off to rework the format for a new employer, CBS.

As the high-profile ‘War for Late Night’ was unfolding, Resnick (picture, right; on The Late Show in 2014) and Elliott watched the fate of their old boss from afar, having decamped to LA. They produced two seasons of Fox’s bewildering comedy series Get A Life, described by one critic as an ‘anti-sitcom’; Resnick’s unique comic perspective attracted the likes of Charlie Kaufman and Bob Odenkirk, while Elliott upped his Hollywood profile with acting gigs in The Abyss, New York Stories and Groundhog Day.

The time was right for the writing duo to graduate to feature films. From their off-centre chemistry sprang a starring vehicle for Elliott, a weird re-imagining that combined elements of MGM’s 1937 adventure Captain’s Courageous and the Greek epic poem, The Odyssey. The pitch found favour with the Disney offshoot, Touchstone Pictures; for the mini-studio, the key factor was the chance to secure the services of the pair’s script collaborator, Tim Burton.

"Disney was sort of kissing (Burton's) ass at the time because they wanted him to make a deal there," Resnick told a packed Q&A audience in 2005. "(The film) would’ve been great, if Tim had gone through with it. But he changed his mind at the last minute." The proposed budget of $40million took a hit without Burton’s marquee name; Touchstone now wanted the same script shot for $10million. Meanwhile, the studio fostered Burton’s pet project, Ed Wood, while the director was also working on Cabin Boy. Said a circumspect Resnick in 2012, “I don’t like to disparage the people that were involved…” (Pictured, left; Burton on the set of Ed Wood).

Burton’s eleventh-hour departure did not halt production, with Resnick taking on directing duties. The shooting script followed an uppity ‘Fancy Lad’ who mistakenly boards a rustic vessel, The Filthy Whore, and finds himself at sea with a band of gruff seamen (Brion James, Brian Doyle-Murray and James Gammon), a dim-witted swabby (future Conan O’Brien offsider, Andy Richter), mythical creatures (Ann Magnuson’s randy Octo-woman; Russ Tamblyn’s half-shark/half-man) and a pretty long-distance swimmer (Melora Walters).

“My immediate reaction was, ‘I don’t know how to direct a fucking movie,’ (and) I said no,” Resnick told Splitsider in 2014. “But then all the chatter started. ‘Don’t worry, Adam, we’ll surround you with good people’ and my agents (saying) ‘Do you know how many people would kill for this chance?” In a 2014 interview with The AV Club, the director recalls, “If I were going to direct my first movie, Cabin Boy would be the last sort of thing I’d come up with. It was written for Tim’s sensibility.” The finished film would become the stuff of Hollywood nightmares; debuting January 7, 1994, on a weekend when ice storms shut down much of the US East Coast, and with a tidal wave of negative press crashing against its bow, Cabin Boy sputtered to less than $4million at the US box office. What was once touted as Tim Burton’s follow-up to Batman Begins now seemed destined for movie oblivion…

But one incredible stroke of good fortune had befallen Resnick and Elliot - the Cabin Boy shoot had taken place when David Letterman was between his talk-show commitments. It would be in those fateful few weeks that their old friend agreed to film a cameo as ‘Old Salt in Fishing Village.’ As Fancy Lad wanders a seedy coastal village, Letterman’s cigar-chomping stall owner offers the greeting, “Well, well, well, what’s on your mind, little girl?” After several awkward platitudes and off-colour observations (“You remind me of my sister, Sally. She’s a dietician.”), Letterman brings all his character actor finesse to a line reading that would seal his place in the annals of cinema history…

“Hey, would you like to buy a monkey?

“Adam and I were both really so lucky that Dave agreed to do it,” Elliott told Vulture.com. It is the only character part that Letterman has on his IMDb page, despite being listed in the end credits as ‘Earl Hofert.’ The short scene, barely a minute long, became fuel for Letterman’s caustic brand of self-effacing comedy, with references turning up many times as part of his iconic ‘Top 10 List’ (Top 10 Things Overheard at the Academy Awards - No. 9: If this goes well, I hear they'll offer Whoopi Cabin Boy 2; Top 10 Cool Things About Winning an Academy Award - No. 9: Might get offered the lead in the sequel to Cabin Boy).

When David Letterman hosted the 67^th Academy Awards in 1995, the notoriety of Cabin Boy and the profile that he had afforded his ill-fated bit part meant it was right for skewering on Hollywood’s biggest stage. Despite the professional and personal battering Resnick took following the film’s failure (he told The AV Club, “I never wanted to direct again. I didn’t have the strength to endure that level of failure and embarrassment.”), the director agreed to oversee a short that would air during the Oscar broadcast, in which some of cinema’s biggest stars reveal their Cabin Boy auditions.

The Cabin Boy creative team have both restored their tarnished reputations. Elliott would become a TV regular with recurring roles on Saturday Night Live and Everybody Loves Raymond, as well as scene-stealing turns in There’s Something About Mary, Kingpin and the soon-to-be-released The Rewrite, opposite Hugh Grant. Resnick rose to co-executive producer on the highly-acclaimed The Larry Sanders Show and penned the John Travolta/Lisa Kudrow vehicle, Lucky Numbers, and the dark Edward Norton comedy, Death to Smoochy; in 2014, he published his memoirs, Will Not Attend: Lively Stories of Detachment and Isolation.

Even their much-maligned debut feature has experienced a resurrection of sorts, with screenings and Q&A events filled to capacity with fans for whom the fresh insanity and bizarre tone of Cabin Boy represents a period of studio experimentation long since gone. “We’ve grown fonder of it over time,” says Resnick. “It’s kind of unique; it’s its own little strange thing.  And there are people out there who really like it.”

The Late Show airs its final episode on May 20; Cabin Boy is available to Australian readers via Touchstone (Aust) YouTube channel